Alien Resurrection

We sweep slowly across an endless tapestry of stars. Finally she comes
into view:

the U.S.S. AURIGA. A massive research vessel that sits majestically
just beyond Pluto's orbit.

We TRACK ALONG the side of the ship, and

INT. AURIGA

along the silent, empty corridors, coming at last to a door with two
guards standing rigid in front of it. Full armour, powerful
shockrifles, expressions empty and cold.

INT. MEDLAB

Along a row of screens, where we see the first signs of life readouts,
lights, data -- all shifting and collating on the blinking screens.

As we move ALONG them, a figure-in a labcoat passes through the frame,
then another,leading us along the lab to settle on what looks like a
Cryogenic tube, not big enough for a human.

Still TRACKING around it, we glimpse inside some vague, fetal mass
encased in a clear, aspic-like gel.

Tubes and cables a attached to the mass, running out of the machine.

As we still CIRCLE, the shape begins to be more coherent, till we can
see what might even be a face.

Eyes, shut tight. Sleeping. Dreaming.

ANGLE: WHEAT.

A birds eyes view of a field, the soft golden waves filling the screen.
Sharp contrast to what we have seen before.

There is a woman wandering through the field. Beside her a girl, seven
or eight, in dingey sundress. Both have black, tousled hair.

GIRL'S VOICE

My mom always said there were no monsters -- no, real ones -- but there
are.

The girl stops, looks around her. The wheat comes all the up to her
chest, and nothing else is visible as far as she see.

She looks back at the woman but the woman is already more than fifty
yards away.

The girl's expression becomes perplexed.

She slaps a bug on the back of her neck. Pulls it off and is HUGE,
wriggling fleshily in her hand. Her expression becomes even more
distraught, but she cannot muster forth a shout.

The sound of insects-fills the air. Another bug lands on her, another.
She looks down in growing horror and sees:

Blood. At her feet, rising, filling the field, rising above the wheat,
a sea of blood now, dark, thick.

The girl tries again to scream, raises her arms. She is completely
covered in insects, a skittering black shroud of them, and when she
finally does SCREAM they flood into her mouth.

CUT TO:

INT. LAB

Instruments show a jolt in heart rate, blood pressure.

Scientists note it down, look over at the thing in aspic.

We can tell that time has passed because it is much bigger, nearly the
size of a man, and in a new case.

The camera moves in on the cardiograph, then moves down, to show a
second one. Tracking a smaller, much faster heartbeat.

CUT TO:

INT. HALLLWAY

Tiny. dark, and we are moving through it at impossible speed turning
into another without slowing, up into an air vent, still moving, moving
until we reach a chamber, some place where all we can see is a mass of
dark, moving, inhuman fle it welcomes us in, envelops us...

Well, we don't have nearly enough data... but in some cases there is a
collective memory passed down generationally. At a genetic level. Like
instinct, only more complex structurally.

PEREZ

In some cases. You're talking about the alien.

WREN

Yes.

PEREZ

You promised me there wasn't going to be any crossing.

WREN

It's not like the other ones..

Perez punches code, puts his hand on the scanner and the second
observation room door opens..

He steps in, the other two right behind him.

CUT TO:

INT. OBSERVATION ROOM TWO

Darker than the first one, and with two of the heavily armoured guards
by the door.

Apart from-that, identical. Perez turns to the others.

PEREZ

But there is some genetic mix.

WREN

Yes.

PEREZ

Will there be further mutation?

GEDIMAN

Mutation isn't exactly... I don't think so.

WREN

That's one of the things we need to study.

PEREZ

All right. You can keep it. But secure, under obsorvation, and for
God's sake keep it away from here. I don't want any more surprises.

And as he speaks the ALIEN RISES RIGHT BEHIND HIM -- it's big, the
ridges on its head indicating a young queen -- it hisses and LUNGES at
the back of his head.

The reinforced plastic window between them, which we couldn't see,
stops it.

As it hits, a thin laser grid buzzes to life, sparks crackling on the
alien's face.

Its bile trails darkly on the glass as it backs off.

Perez turns to look at it with the others.

PEREZ

It took a hell of a lot to get us here.

GEDIMAN

No shit.

Wren shoots him another look.

PEREZ

How soon before this one's ovulating?

WREN

Days.

PEREZ

Is that normal?

WREN

No way of knowing for sure, but I'd say it's accelerated.

(After a moment) We're going to need the supplies.

PEREZ

They're coming. Soon.

CUT TO:

INT. MESS HALL

Ripley sits across from Gediman. He is eating at a good pace - Ripley,
however, has stopped. She is staring at her fork, her brows furrowed.
Turns it over in her hand, in her mind.

GEDIMAN

"Fork."

The memory comes, and she shakes her head wearily.

RIPLEY (softly)

Fuck....

GEDIMAN (pretending to correct her)

"Fork."

Ever so slightly, she smiles. The smile fades, and after a moment:

RIPLEY

How did you...

GEDIMAN

How did we get you? Blood samples from Fiori 16. On ice.

Do you remember that place?

RIPLEY

Does it grow?

GEDIMAN

Does it.....Yeah. Rapidly.

RIPLEY

It's a queen.

GEDIMAN

How did you know that?

RIPLEY

It'll breed. You'll die. Everyone in the ... fucking.... (searches
for the word, then spits it out) ... Company. Will die.

GEDIMAN

Company?

WREN (O.S.)

Weyland Yutani.

He has entered behind her, comes up to the table.

WREN

Our Ripley's former employers. Terran Growth conglom, had some defense
contracts under the military. Before your time, Gediman -- they went
under decades ago, bought out by Walmart. Fortunes of war.

(to Ripley)

You'll find things have changed a good deal since your time.

RIPLEY

1 doubt that.

WREN

We're not flying blind here, you know. This is United Systems
military, not some greedy corporation. The potential benefits of this
race go way beyond urban pacification.

New alloys, new vaccines ... there's nothing like this in any world
we've seen.

You should be very proud.

She laughs, bitterly.

RIPLEY

Oh, I am.

WREN

And the animal itself is wonderous. They'll be invaluable once we've
harnessed them.

RIPLEY

It's a cancer. You can't teach it tricks.

This stops Wren, and he retreats silently. Ripley repeats word to
herself, thinking.

RIPLEY

"Them" ...

CUT TO:

INT. HALL CONTINUOUS

As Wren is leaving the mess, he is accosted by an ensign.

ENSIGN

Doctor, General Perez is asking for you. We've been hailed.

CUT TO:

EXT. DEEP SPACE

We see the Auriga far in the distance Suddenly A SHIP ROARS INTO FRAME,
heading for it.

A small vessel, it is every bit dirty and jerry-rigged as the Auriga is
pristine.

To accentuate the difference, the sudden roar of its engines is
accompanied by

HEAVY, THRASHING ROCK MUSIC.

CUT TO:

INT. COCKPIT CONTINUOUS

The music is coming from nearby. Piloting the ship toward the Auriga
is HILLARD, a roughskinned woman in her forties, along with RANE, a
slight and quiet fellow.

Behind them stands ELGYN, the leader of the group.

Has the kind of authority that doesn't need to flaunt itself.

Maybe fifty, by the silver in his hair. He speaks into the vidcom

ELGYN

(good naturedly)

My authorization code is 'fuck you', son. Now open the goddamn bay or
General Perez is gonna do a Wichita stomp on your virgin ass.

He switches off.

RANE

Wichita stomp?

ELGYN

I guarantee that boy's. Never seen the inside of a woman.

(to Hillard)

Bring us in on three-oh descent, ride the parallel.

HILLARD

Darlin', it's done.

ELGYN

Don't cut thrust till six hundred meters. Give em a little fright.

He puts his hand on her shoulder, runs it up along her cheek as he
exits.

They're more than friends.

He moves through a hallway, sticks his head in a cubicle.

ELGYN

Christie! St Just! Rise and shine. We're docking.

He proceeds into:

INT. CARGO BAY - CONTINUOUS

It's the largest space in this boat, two stories high. Taking up most
of the space are two HARVESTERS, big rusty hovering threshers roughly
the size of winnebagos.

As Elgyn enters, we CRANE UP to reveal ANNALEE-CALL working atop one of
them.

She's young, tough -- at home with this motley bunch despite her youth
and prettiness.

ELGYN

Call! CALL!

The music is louder here -- it's blasting from a box in the corner.

Elgyn switches it off.

ELGYN

Call!

CALL

What?

ELGYN

We're docking! Are the cargo trucks secured?

CALL

I checked 'em an hour ago.

ELGYN

I don't want em so much as rattled. Any leakage, I take it out of your
hide.

CALL

Trust me, boss.

ELGYN (laughs)

Not my style.

He leans down, looks under the thresher. Lying on a gurneylike steel
dolly, working under the machine, is VRIESS, chie mechanic. Late
forties, in pretty good shape considering he's got no legs.

ELGYN

How's it looking?

VRIESS It's never gonna be pretty. but she'll fly. The other one's a
total fucking write-off.

ELGYN

You'll make it good.

VRIESS

Don't be so sure.

(calls out) Call! Adjust the generator plugs!

ELGYN (straightening up)

They just gotta run, Vriess. They don't gotta run far.

He exits.

CUT TO: INT. HALL CONTINTJOUS

CHRISTIE is up and mostly dressed. He is black, very large, and has
distinctly military bearing. He speaks with quiet, don't-fuck-with-me
authority.

CHRISTIE

What's our status?

ELGYN

We're coming in. Time to enjoy a little of the general's hospitality.

ST JUST

Oh great. Army food..

ST JUST ("San-Jhoost") is slim, Asian -- and the epitome of cool.

Moves quickly and silently, a sly grin playing about lips. He is
strapping a contraption to his forearm. It resembles a deringer
holder, but a very complex one.

ELGYN: We could use a rest, till the heat's off and Vriess can get
those harvesters on their feet.

This'll keep us for a couple of days, assuming the natives are
friendly.

CHRISTIE

We expecting any trouble?

ELGYN

From Perez? I doubt it. Still, let's be ever vigilant.

CUT TO: INT. CARGO BAY CONTNIUOUS

ANGLE: VRIESS working intently, the extremely nasty blades of the
thresher inches above his head.

VRIESS

I'm patched in. Check the sequence timer.

(no answer)

Call?

ANGLE: THE CONTROLS

A hand reaches in toward the ON switch.

ANGLE: VRIESS

VRIESS

Call?

The thresher GRINDS TO LIFE -- a hundred blades and claws spinning at
Vriess's head!

Vriess wheels out from under the machine in a second flat.

VRIESS

Goddamnit!

The second he's out he hits a lever and the back of the dolly flies up,
transforming it-into a wheelchair.

VRIESS Johner! You son of a whore!

JOHNER jumps down from the machine, laughing. He's thickset, mean and
ugly, with ugly scars crisscrossing his ugly bald head.

Thought I'd give you a little haircut there.

VRIESS

You fuck!

Call, who has been over on the other side of the thresher, ably climbs
up on it and switches it off.

JOHNER

You should see your face. Vriess, you must have soiled yourself.

VRIESS One of these days I'm gonna kill you. My hand to God.

JOHNER

Well, you already gave him your feet ...

CALL (jumping down)

You're a limp fucking scrotum, you know that?

JOHNER

Either of you want a piece of me, I'm less than busy.

VRIESS

Any time.

CALL

Vriess. Forget it. He's been sucking down too much homebrew.

JOHNER

Don't push me, little Annalee. You hang with us a while, you'll learn
I'm not the man with whom to fuck.

He exits, full of annoying bravado.

VRIESS

That inbred cocksucker.

He feels his forehead, comes up with a bit of blood. Realizes how
close it was ...

Call looks up at the thresher.

CALL

1 hate machines.

VRIESS

Well, now we know it works ...

CUT TO: EXT. AURIGA DOCKING BAY

As it opens to admit the proportionally tiny ship. The bay on the
bottom of the Auriga

- the doors are actually OVER the ship, which rises into the airlock.

INT. AIR LOCK

The outer doors close under the ship. Pressurized air shoot into the
airlock for a few seconds, and then the inner door opens. the ship
rising into the bay.

INT. BAY

The ship moves slowly along the huge dock to land gently at far end.
The top of the ship is nearly level with a grated platform that runs
the length of the bay.

Three soldiers in full armour stand rigid on the platform. The hatch
atop the ship slowly opens. One by one the crew files out. Seeing them
en masse, we get a clearer view of what separates them from this
Environment. They're not wearing uniforms. They're an eclectic,
fiercely indivualist group, their look varied -- spots of bright color
showing through militarian space gear. Johner's bright tuorquise
bowling shirt. Elgy's and St Just's floorlength leather dusters. Even
Vriess's chair stands out as he wheels down the platform.

What they have in common is the toughness, the wary eyes, leathery
skin. The cool readiness to kill. These guys are smugglers. A long
while ago, you'd have called them pirates

All eight of them emerge, one by one, looking around them. They file
past the silent, uniformed soldiers. The last one suddenly puts a hand
on Johner's jacket, stops him.

There is a bulge under it. A green sensor light on the back of the
soldier's glove turns red when he touches the bulge.

SOLDIER

No projectile weaponry is allowed on board the vessel, sir.

Johner opens his jacket, shows what he's packing: a large thermos.

JOHNER

Moonshine. My own. Much more dangerous.

SOLDIER

Sorry, sir.

ELGYN (to Perez)

What, do you think we're going to hijack the vessel? All eight of us?

No, I think one of your asshole crew is going to get drunk and put a
bullet through the hull. we are in space, Elgyn.

He enters from the antechamber, motions for the crew to follow him.

Vriess comes abreast of the soldier.

VRIESS

Wanna check the chair?

The soldier makes no response, simply falls in behind Call, the last of
them.

CUT TO: INT. ANTECHAMBER

The long neck that connects the bay to the body of the ship. The group
proceeds down it, the crew looking about them at the sterile grandeur.

A stack of bills dropped down on a desk, then another. They're green,
and identifiably money. But they're square, about the size of cocktail
napkins. The face on them is unfamiliar. Thousand dollar bills.

WIDER ANGLE: INT. PEREZIS CHAMBERS LATER

A good sized suite, decorated in a sparse, military fashion. Perez is
behind his desk, the money sitting between him and Elgyn.

PEREZ

This wasn't easy to come by.

ELGYN

Neither was our cargo. You're not pleading poverty, are you?

PEREZ

We're well funded. I mean the bills. There's not many that still deal
in coin.

ELGYN

Just the ones that don't like their every transaction recorded. The
fringe element.

He points at a audiograph by the wall, blips and waves interrupting the
vibrating line, indicating sound.

He notices that her hand is still on her shoulder.

GEDIMAN

They communicate. Through ultrasonic soundwaves. Sort of like bats.

RIPLEY

I know.

She looks at him.

RIPLEY

I can hear them.

GEDIMAN (smiling)

Amazing ...

She runs her hand through the back of his hair, gently urging him up
off his chair.

GEDIMAN

Ripley...

RIPLEY

Shhhhh.

She pulls him close, kisses him. Lightly at first, then deeply -
holding his head with both hands. He responds with surprising warmth,
the kiss drawing out, pulling slowly apart.

She looks at him, smiles.

An alien tongue SHOOTS out of her mouth, burying itself in his face.

SMASH CUT TO: INT. RIPLEY'S CHAMBER

As she suddenly awakes, eyes wide, breathing hard.

She has been sleeping, we see, in the same position she was before:
squatting in the middle of the room. She looks about her, recovering
from the nightmare... Her breathing slows. With a somewhat fatalistic
look, she settles back to sleep.

CUT TO: INTERIOR MESS HALL - NIGHT

Christie, Call, St Just and Johner are still at their all night poker
game, stacks of bills, peanuts and liquor scattered the table.

They are in a tense hand, the pot impressively high.

JOHNER

I'm in.

CHRISTIE

All right.

ST JUST

Raise you two hundred.

JOHNER

Oh, fuck you!

CALL

That's it. I'm out. I'm fucked.

She throws down her cards, takes a swig of Johner's patented moonshine.
It tastes horrible.

CHRISTIE

That takes me down, too. Johner?

JOHNER

Uh, Uh, fuck it. I fold.

(to St Just)

What do-you got?

St Just calmly shuffles his cards back into the deck.

ST JUST

You'll always wonder.

JOHNER

You asshole.

CHRISTIE

Johner, your deal.

CALL

Deal me out. It's not my night.

She tries to stand up, takes a spill over her chair. The others laugh.

CALL

Jesus, Johner, what do you put in that shit, battery acid?

JOHNER

Just for coloring.

ST JUST (producing a small vial)

I got something that'll take the edge off that.

CALL Thanks, I'll walk it off.

She stumbles out of the room. Johner shuffles the deck.

JOHNER

Bitches should not play with the boys, they will get cleaned out.

(dealing)

Eight card throwback, fuck your sister and the sevens are wild.

CUT TO: INT. HALL

As soon as she is out of sight, Call straightens up, completely sober.
She looks around her and takes off toward the restricted areas.

She comes to the door and making sure no one is around, star punching
in code on the keypad.

Ripley is sleeping, still in the squatting position in the middle of
the room.

Call approaches.

She stares down at Ripley a moment. A shadow passes as a guard walks
above them,

Call tenses till he is gone. Look's back down at Ripley -- still
sleeping.

Call extends her hand, flexes her wrist. The meanest lookin stilletto
you've ever seen extends from out her sleeve. it, gotta be a foot long,
and sharp enough to shave with.

She lifts back her arm, the better to punch it through Ripley's heart.

Ripley shifts slightly. Call stops.

ANGLE: RIPLEY'S CHEST

Her shirt is open enough to show a good portion of the scar. Call
hesitates, staring, realization flooding her face.

RIPLEY

Well?

Call starts, moving back a pace.

RIPLEY

You gonna kill me or what?

CALL

There's no point, is there?

A flick of her wrist and the stilletto whips back up her sleeve.
Ripley sits up.

CALL

It's already out of you. Christ... Is it here? Is it on board?

RIPLEY (smiling)

You mean my baby? CALL

I don't understand. If they've got it, why are they keeping you alive?

RIPLEY

Curious. I'm the latest thing...

CALL

Those sick fucks.

She raises her arm, the stilletto gliding out again.

CALL

I can make it stop. The pain... this nightmare.. That's all I can
offer you.

Ripley holds her palm up, presses it against the point of the blade.

RIPLEY

What makes you think I would let you do that?

Ripley pushes her hand out - the blade goes RIGHT THROUGH HER PALM. She
keeps pushing her hand out slowly, a good five inches of the blade
sticking out the back of her hand before she stops. Call stares at
her.

CALL

What are you?

RIPLEY

Ripley, Ellen, Lieutenant first class, number 36706.

CALL

Ellen Ripley died two hundred years ago.

Ripley pulls her hand back suddenly, grimacing at the pain.

RIPLEY

What do you know about it?

CALL

I've read Morse -- I've read all the banned histories. She gave her
life to protect us from the beast. You're not her.

RIPLEY

If I'm not her. What am I?

CALL

You're a thing. A construct. They grew you in a fucking lab.

RIPLEY

But only God can make a tree.

CALL

And now they've brought the beast out of you.

RIPLEY (smiling)

Not all the way out.

CALL

What?

RIPLEY

It's in my head. Behind my eyes. I can hear it moving. The beast.

The smile is gone, some real vulnerability showing through. Call
softens, trying a different tack.

CALL

Help me. If there's anything human in you at all, help me stop them
before this thing gets loose.

RIPLEY

It's already loose.

Call's expression changes. Those words terrify her, but she's not sure
if Ripley means what she thinks.

Ripley raises her hand at Call's head -- Call flinches but Ripley stops
a few inches away.

Then touches her forehead gently, almost sensually.

RIPLEY

Once the thought .... the hope for it ... grows here.... it has found
its way.

It will come, because... man will bring it. Bring it forth.

CALL

You want that.

RIPLEY

I've come to terms with the fact of it. It's inevitable.

CALL

Not so long as there's breath-in me.

Ripley LASHES OUT and GRABS CALL'S THROAT. Call swings wit the blade
but Ripley has her arm pinned before she can connect. Ripley squeezes
the girls neck.

Ripley looks at the girl with a world of sadness.

RIPLEY

I can... make it ... stop...

Call's eyes are pleading, terrified. Ripley finally lets go and she
drops to the ground gasping for air. RIPLEY

Go. They're coming for you.

As soon as she can move, Call scrambles up and heads out.

CUT TO: INT. HALL - CONTINUOUS

Call comes out and before she can move a RIFLE BUT hits her the head.
She goes down but not out as two guards grab her. Wren is with them
and three more.

WREN

I think you're gonna find that this was ill advised.

(to the men) Where are her friends?

GUARD

Mess hall, most of them.

WREN

Sound the alarm. I want them rounded up. Now!

TO: INT. MESS HALL - MOMENTS LATER

ANGLE: THE CARD TABLE

Being kicked over.

Elgyn, Hillard and Rane are pushed into the room, sleepy and confused.

Christie, St Just, and Johner are all being herded in by soldiers.

Call is thrown into the group as well.

ELGYN

What the fuck is going on here?

CHRISTIE

Looks like a doublecross, boss.

WREN

Where's the other one? With the chair?

JOHNER (to a soldier)

Get your fucking hands off me!

ELGYN

Do you mind telling me what the fuck you're up to?

WREN

Shut up!

(to a guard) Get the general. Wake him up.

ELGYN

Look, if there's a problem tell me what it is. We can work this out,
there is no need to get emotional ...

St Just is silent, standing in the same position he was when Ripley
attacked Johner.

Hands behind his back.

ANGLE: BEHIND ST JUST'S BACK

As Elgyn speaks, two guns..slip out of his sleeves and fill his hands.

CALL

They got nothing to do with this, Wren.

ELGYN (to Call)

To do with what?

WREN I don't give a fuck. It's way too late for that. You're all
looking at a firing squad.

You hear me?

ELGYN

I do. St Just?

With lighting precision, St Just raises his hands and blows of the
guards away.

He takes out a third to his left without even looking that way.

One guard gets off a shot with his burner, frying Rane before Hillard's
elbow knocks his teeth well into his throat.

Christie tackles the next as Johner presses a latch on the bottom of
his thermos -- the top half flies off, revealing handle of a gun
inside. He grabs it and another guard runs. Johner doesn't have time
to pull the gun-out of the the so he SHOOTS right through it, sending
the guard flying..

CUT TO: INT. ALIEN OBSERVATION LAB - CONTINUOUS

Alarms, flashing red lights. Gediman looking in a video monitor.

GEDIMAN

What the fuck... You three! Go! Sector two.

All but one of the guards rush out to investigate. Gediman works the
surveilliance screen, trying to see what's happening

CUT TO: INT. MESS HALL - CONTINUOUS

When the smoke clears, There are two guards still standing. They point
their weapons inneffectually. St Just a has gun to wren's head and a
gun on the guards, who are also covered by Johner.

ELGYN

Nice and easy, boys ...

Call starts to take off.

CALL

I'm gonna finish this.

Elgyn grabs her by the hair, roughly pulls her back.

ELGYN

You're going nowhere, Annalee.

CUT TO: INT. OBSERVATION LAB - CONTINUOUS

ANGLE: IN THE PEN

The three aliens have picked up the energy. are stalking back and forth
like tigers in the dim light of their pen.

ANGLE: THEIR POV

We see Gediman and the guard, their backs to us. The aliens-stop
pacing. One of them, to the right, looks at the one on the left.
Something passes between them. They look back at the humans. At each
other.

They SET ON the middle alien, TEARING IT APART. It lets out piercing,
insectile SHRIEKS as they tear it limb from limb.

Gediman spins in terror, the guard bringing up his weapon. Gediman hits
the lights inside the pen and as they blink to shocking brightness we
see:

The remains of the third alien on the ground as a giant pool its blood
EATS A HOLE IN THE FLOOR.

GEDIMAN

Oh, God

He bolts for the failsafe but it's too late as the blood eats all the
way through - the two aliens DIVE through the hole. just as Gediman
hits the button -- freezing gas fills the chamber but there's nothing
to freeze.

GEDIMAN

No no no!

He hits another sequence and the door slides open. He rushes in,
kneels by the hole and looks down.

ANGLE: HIS POV

Their blood has already eaten through two levels.

GEDIMAN

Christ. They could be anywhere.

He looks up at the guard -- and an alien FLIES UP at him through the
hole.

It was hanging on the ceiling below and it pulls him through before he
can breathe a decent scream.

The guard just stares, shaking.

CUT TO: INT. MESS HALL

The mexican standoff is getting even more heated.

CHRISTIE

Who gives a shit! We have to get out of here.

ELGYN

If Call's got something going here I want to know what it is!

WREN

You brought her here..

Two more guards rush in. Johner shoves' his gun in Wren's mouth.

JOHNER

Drop them! I'm not fucking with you!

CHRISTIE (indicating the dead soldiers)

Boss, we got bodies here. It doesn't matter what Call's up to, we're
all fucked now.

CALL

I have to stop him. If I don't we'll all die.

WREN (pulls his mouth away)

Elgyn, tell me what you know. If she's alone in this.

HILLARD

In what?

Johner puts his gun to Call's temple now.

JOHNER

Does anyone want me to make this simple?

Far away, a SCREAM. Everyone stops. Wren turns slowly in the direction
it came from.

WREN

No...

CUT TO: INT. HALLWAY BY LABS

A technican RUNS screaming just as an alien LEAPS on him from behind.
The CAMERA RUSHES AWAY, frenzied as the scene, to pick up a guard in
the next hall firing wildly at the ceiling as an alien dissappears up
an airvent. There are three bodies lying dead before us.

ANGLE: IN THE PENS

We see that the aliens have been freed. Smoke, dead bodies, the
plexiglass partition to one 1 cage is cracked and open.

CUT TO: INT. RIPLEY'S CELL - CONTINUOUS

Ripley sits in the dark, the noise of Chaos just beginning filter in.
And she just can't help herself.

She is LAUGHING.

CUT TO: INT. PEREZ'S QUARTERS CONTINUOUS

He is mostly dressed, still shaking off sleep. He stands at the
command console, bringing up visual. Everything on the screens is
smoke and noise.

PEREZ

Ensign! Damage Report! Ensign!

Nothing. On one of the screens, an alien is briefly visible. Perez
stiffens at the sight of it.

He punches up a different sector. The labs, and here is a badly wounded
lieutenant.

PEREZ

Status!

LIEUTENANT

Containment is impossible, sir... I think they swept the barracks.

PEREZ (to himself)

A military strike.... Christ Jesus ...

After a beat, he starts punching in the emergency override codes.

CUT TO: INT. BARRACKS - CONTINUOUS

It's worst here -- the aliens have taken out a dozen men in their
sleep, and everyone awake is screaming. One soldier runs for the
weapons cabinet -- an alien hits him from behind and SMASHES him into
it, falling in a tumble of guns.

Over the chaos, the emergency lighting comes on, floor light like an
airplane's indicating the nearest exit. Father's voice is
excruciatingly calm:

FATHER

Emergency. Initiate evacuation procedures immediately. All hands. This
is not a drill.

One soldier gets a bead on an alien with his burner - fries italong
with two of his friends.

They're out of commission, but the alien is hurt only momentarily. It
bounds forward, takes out his face.

FATHER

Emergency. Initiate evacuation procedures ...

CUT TO..

INT. HALLWAY BY ENGINE ROOM - CONTINUOUS

The noise is too far above to be heard down here, but Fathers droning
voice and the emergency lighting are on.

Vriess wheels slowly into the hall, concerned. He spins slowly,
checking out his surroundings.

ANGLE: DOWN THE HALL

There is nothing.. Just the floor lights pulsing in succession towards
the exit.

Vriess follows their lead, wheeling out.

CUT TO: INT. NEXT HALL - CONTINUOUS

Nothing here either. But Vriess's fur is up -- he moves slowly,
carefully.

And was that a noise? He looks around, up at the ceiling.

A drop of alien blood is eating through right above him. It drips down
-- and he rolls out of the way just in time, back up as the blood plops
to the floor, eating casually through.

CUT TO: INT. LIFEBOAT BAY ONE - CONTINUOUS

Men are rushing into one of the lifeboats. They sit facing each other
in the tiny vessel and strap themselves in. Pere is here, hurrying
the soldiers in, pushing back the few who try to crowd in after.

PEREZ

Bay three! Go!

The late soldiers make for the next boat as Perez seals the hatch. He
hits the eject button and steps back.

CUT TO: EXT. THE AURIGA - CONTINUOUS

As the lifeboat FIRES out of the side of the giant craft.

CUT TO: INT. BAY THREE - CONTINUOUS

Men crowd into this one too -- it's nearly full and an alien suddenly
LEAPS into it.. starts feeding on the men strapped down - they are
screaming.

Perez runs in as a soldier outside the lifeboat fires his burner,
hitting the alien, the men, the controls -- a shower of sparks as the
alien-turns, about to spring on the soldier as he rolls in a grenade.
The doors shut and and a soldier hits the eject button.

TO: EXT. AURIGA - CONTINUOUS

The second lifeboat comes shooting out and moments later. EXPLODES.

CUT TO: INT. MESS HALL - CONTINUOUS

The noise of the explosion - and of a few inside as well - is all
around the group.

Father's voice still urges evacuaticion

WREN

NO!

(to Call)

What have you done?

CALL

Nothing. Not a goddanm thing. You thought you could control it.

ELGYN

All right. We make for the Betty. Can he walk?

He is pointing at Rane, who nods, standing.

HILLARD Betty's all the way across the ship! Who knows what's in
between?

CALL (indicating Wren)

He does.

One of the soldiers steps forward. DiStephano.

DISTEPHANO (to Wren)

Sir, we have to go.

(to Elgyn) Let him go. No quarrel.

ELGYN

You can have him when we're off. Not before.

They start out, dragging Wren along. Guns still on Call and the
soldiers.

What about Vriess?

JOHNER

Fuck Vriess!

CUT TO INT. FALL - CONTINUOUS

Vries enters, looking around. He is getting seriously wigged.

The lights on the floor still pulse. Urging him forward. He obeys.

Something stirs in the rafters. Coiled about the pipes.

Vriess stops, still a good thirty feet from the beast. Strains to see.

It starts MOVING, climbing at him upside down on the pipes. FAST.

Vriess starts wheeling himself back away but SLOWLY, agonizingly slowly
compared to the beast.

He turns the corner, spins around.

The hall is fifty feet long. At the far end a few soldiers running
through.

SERGEANT

Seal off that sector!

A soldier runs to obey, working the door controls.

VRIESS

No!

The soldier sees him, but the fear on the boy's face telegraphs his-
decision.

Vreiess starts pumping toward the door. He's strong, picking up speed,
but the alien rounds the corner and bolts after him.

Vriess can't even look back as the thing gains on him. The door begins
to come down, the soldier finishing the sequence and running off.

Vriess rolls, face set -- the alien a few feet behind, reaching for him

An EXPLOSION far away ROCKS THE SHIP -- the hall tilted momentarily,
Vriess gets a boost as he rockets downhill, the beast still on him,
the door closing, too low for him to clear. He gets there and SLAMS a
lever, his chair FLATTENS out to a dolly position, his head just
CLEARS the closing door as the alien SLAMS into it, Vriess spinning out
and flying off the chair it tilts, landing in a heap next to him.

Lying still on the ground, he listens as the beast slams against the
door a few more times, then fades off.

VRIESS

Fuck everything....

He reaches up for the chair and from the back of it he pulls out a
shotgun.

CUT TO: INT. LIFEBOAT BAY 5 - CONTINUOUS

Perez is trying to maintain order. He is failing. Grabs a corporal.

PEREZ

Muster a squad to search for survivors!

CORPORAL

Fuck no! Fuck no! Fuck you!

Perez slams him to the ground with his fist.

An ALIEN LEAPS OUT at him from the ceiling. The soldiers scatter, Perez
just leaping out of the way --

PEREZ

Shoot it! Fry it!

A couple of men fire their burners, to little effect.

One soldier runs up to the action. His head is bloodied, his expression
vengefully grim.

The soldier whips out a pistol, private.issue, he takes a bead on the
thing --

PEREZ

NO!

And the soldier FIRES -- pumps three bullets into the beast sends it
flying back toward the window.

Perez is riveted by the sight of: ANGLE: DROPS OF BLOOD

big ones, hitting the window. Everything seems to move slowly now - the
alien, struggling as the soldier pumps two more bullets into it, the
other soldiers, Perez -- the monster falls and the BLOOD EATS THROUGH
THE WINDOW..

PEREZ

Get out! Everyone! Now!

Soldiers are beginning to get it.. The window CRACKS, begins to SHAKE
as the blood is almost through it.

Even the soldier who shot the alien has stopped, his face frozen in
horror at what he's about to accomplish.

Perez shoves him, herds the rest out, looking back --

PEREZ

Clear the sector!

at the window, the blood is almost through --

Men are pouring out of the hall -- some move down a side hall and SLAM
the door shut behind them, but most are making for the main exit
anyway.

FATHER

Warning. Potential hullbreach. Clear sector.

The blood eats a hole in the window -- the nearest soldier is sucked
back against the window -- he SCREAMS as he is sucked through a hole
no bigger than his fist.

Still men are falling over each other, Perez herding them out.

A huge CRACKING sound, and Perez shuts his eyes.

The window explodes outward, the air blowing everything int space.
Debris, vehicles, men, all tangled and dead as they blown out into the
black.

There's a console in the guards, station. We can punch up a diagnostic
of the ship and plan a route. To your ship.

CHRISTIE

That likes me fine.

He signals for the others to follow, everyone moving cautiously.

ANGLE: HILLARD

Gently lays her coat over Elgyn's face. Johner looks down a moment.

JOHNER

Via con Dios, man.

Hillard stands. Call puts ahand on her shoulder but Hillard moves away,
a distrustful look on her face.

Ripley, bringing up the rear, watches the whole group with a sort of
fascinated detatchment.

Call looks back at her. Ripley smiles, coldly.

ANGLE: IN THE CELLBLOCK

The group makes their way slowly, quietly. They approach a bank of
elevators, but Wren points down an adjoining doorway. They are about
to go there when the elevator door lights up, indicating arrival.

The group backs up, spreads out. Those who can find cover take it. guns
drawn.

The elevator doors open. It is too dark inside to see:

Suddenly sparks fly from the broken overhead in the elevator and a
figure appears in the light.

Everyone jolts, about to fire. before they realize it is

VRIESS

Who sits in his chair, a shotgun in each hand, eyes wide. twitchier
than they.

JOHNER

Oh, fuck...

CALL

vriess!

VRIESS (mock casual)

Hey, whatchyou guys doing? Hey, Annalee.

CHRISTIE

Thought you were toast for certain.

VRIESS

You've seen that fucking thing?

WREN (suspiciously)

Where were you?

VRIESS

I was down by -- what do you mean? I was in maintenance, checking out
your oxidation systems.

JOHNER

Doc's got a bug up his ass 'cause Call's a mole and he thinks we're a
conspiracy.

VRIESS (looking at Call)

She's a what?

JOHNER

A mole. A fucking spy.

Vriess looks hit harder by that information than anyone.

CHRISTIE

We got'a mission here, people. Let's keep moving.

They do.

CUT TO: INT. GUARDS, STATION - MOMENTS LATER

ANGLE: THE CONSOLE

A hologram of the ship appears above the screen. It looks a solid as
the ship itself, except that parts of it occasional break themselves
down to show interiors.

The group looks it over. Parts of the ship are simply not there, the
sections around those holes red. Wren points them out.

WREN

We've had hull breach by the lifeboats, here on level five, and down --
Jesus, right by the engine room. We're very lucky.

ST JUST (sarcastically)

Lucky we.

CHRISTIE

What about the Betty? Our ship.

WREN

The dock seems to be intact.

CHRISTIE

Then we head for it.

JOHNER

Can we track those fucking things?

WREN

No.

JOHNER

We could get to the Betty and they could be all over it!

RANE

Are you toting a better fucking idea?

WREN

All of the activity seems'to have been in the aft-sector, by the
barracks.

This ship has stealthrun, even if we were moving there's no way she
could feel it.

CALL She's right.

Call is working the computer now.

CALL

The ship's been going since the attack.

WREN

It's uh, it's standard, I think.

DISTEPHANO

That's right. If the ship takes on any serious damage it autopilots
back to homebase.

CALL (to Wren, pissed)

You were planning to let us know this?

WREN

I forgot.

HILLARD

What is homebase?

WREN

Earth.

CALL

Oh, God. Oh, you bastard...

JOHNER

Earth? I'm not going to that fucking slum.

CALL

If those things get to Earth, It'll be...

RIPLEY (not very concerned).

The end.

ST JUST

That's not our problem.

CALL

We've got to blow the ship.

CHRISTIE

We don't have to do anything till we get off it. How long till we get
there?

CALL

Three hours. Almost.

CHRISTIE

Then that's what we got. Let's move.

CALL

Don't you understand what this means?

CHRISTIE

I understand my hide. And I like it on me. Let's go.

(to Ripley)

What are you called, Ripley? You mind taking point?

She moves to the head of the line, and they start.

CUT TO: INT. LABS - LATER

As they progress. Everyone with a gun has it at the ready. Ripley is
a few yards in front.

She stops, sniffs. Listens.

RIPLEY

Clear.

Johner moves up next to her.

JOHNER

You've come up against these things before?

RIPLEY

Yes.

JOHNER

So what did you do ?

RIPLEY

I died.

He lags behind a bit, thrown.

JOHNER

That wasn't really what I wanted to hear...

DiStephano points to a door.

DISTEPFANO

This way.

And Ripley leads them in.

CUT TO: INT. LAB - CONTINUOUS

As Ripley enters, we can see that this lab has been trashed. Ripley
surveys the wreckage calmly, keeps moving. As the others file in, their
horrified expressions lend contrast to her lack of one.

Among the debris are three bodies, chests exploded outward.

JOHNER

Fuck me ...

CHRISTIE

Let's keep moving.

The door to the next chamber is ajar. Christie and Vriess in, then St
Just, then Ripley.

INT..NEXT CHAMBER

Something LEAPS at Ripley from out of the shadows -- a metal bar SLAMS
into her side, throwing her off balance.

St Just and Christie spin, weapons up, and almost shoot the figure
cowering in the corner.

Everyone else rushes in as he swings the bar before him, eyes wild with
terror.

PURVIS

Get away from me!

CHRISTIE

Drop the rod, man. Do it!

PURVIS.

Get away...

But the energy is out of him. The rod falls with a hollow clatter. He
looks weakly from face to face.

PURVIS

What's going on?

St Just looks at his name, stitched in his coveralls.

ST JUST

Purvis. What's going on is that we're getting the fuck off this ghost
ship.

PURVIS

What ship? Where am I? 1 was in cryo on the way to Xarem, work crew
for the nickel refinery...

I wake up, I don't understand... I saw something... horrible ...

CALL

Look, you come with us. It's dangerous here.

Ripley SNIFFS. Cocks her head.

RIPLEY

Leave him.

CALL

Fuck you. We're not leaving anyone on this boat.

RIPLEY

He's carrying..

JOHNER

He's what?

RIPLEY

He's got one.... inside him. I can smell it.

PURVIS

Inside me? What?

JOHNER

Shit, I don't want one of those things birthing anywhere near my ass.

VRIESS

It's a bad risk.

CALL

We can't just leave him.

VRIESS

I thought you came here to stop them from spreading.

CALL (to Wren, torn)

Isn't there a process, can't you stop it?

ST JUST

We've got no time for that.

WREN

I couldn't do it here. The lab's torn apart.

ST JUST (quietly)

I could do him. Painless, back of the head. Might be the best way.

CALL

There's gotta be another way. If we freeze him --

PURVIS

WHAT'S IN-FUCKING-SIDE ME?!?!?

They all look at him, a bit sheepishly.

WREN

A parasite. A foreign element that ....

Ripley steps in front of the doctor.

RIPLEY

There's a monster in your stomach. They (indicating the smugglers)
hijacked your cryotube and sold you to him (indicatingWren) and he put
an alien in you. In a few hours it will punch its way through your
chest and you'll die. Any questions?

Purvis is wide-eyed, stunned. After a moment he stammers

PURVIS

Who are you?

RIPLEY

I'm the monster's mother.

She starts heading out of the chamber. Call turns to the others.

CALL

He comes with us. We can freeze him on the Betty and get the doctor to
remove it later.

WREN

All right.

JOHNER

Since when are you in fucking charge?

CALL

Since you were born without balls.

VRIESS

Ease off, people.

CHRISTIE (to Purvis, herding him along)

Come with us. You might even live. Get twitchy on me and you will be
shot.

They move out.

CUT-TO: INT. HALL - LATER

still in the same general area, still looking around every corner.
It's been too quiet too long, and the group senses that & They move
into

INT. OBSERVATION ROOM TWO - CONTINUOUS

It's in bad shape, so we might not recognize it as the chamber the
queen was in.

WREN

She's gone.

ST JUST

Who?

WREN

The Queen.

JOHNER

Good.

He is loooking into the room.the queen was kept in. A residue of slime
is all that's left here.

Beyond the queen's chamber is another observation room. Wren indicates
that they have to go through.

Suddenly a burner blast FIRES at them, just missing them as they duck.

They hear more blasts, not aimed at them, and screams.

SOLDIER (O.S.)

Pull back! Pull back!

OTHER SOLDIER (O.S.)

It's on me!

Ripley looks up and can just see two aliens making short work of a
group of soldiers.

Call instantly moves to attack, and Ripley grabs her, holds tight.

CALL

We've got to help them!

RIPLEY

Can't.

CALL

You bitch, let go of me!

She does, and Call rises.

The noise is gone. What she can see of the soldiers-is parts.

She is shaking at the vision when an alien RISES in front on the
soldiers. Call ducks back down, terrified.

Christie hisses at her.

CHRISTIE

You want to get yourself killed, then you run solo.

ST JUST

How many?

RIPLEY

At least two.

ST JUST

Think they heard us?

RIPLEY

Yep.

HILLARD

Fine by me ...

JOHNER

Yeah, let 'em come.

CHRISTIE

Wren. Any other way around?

Wren shakes his head.

CHRISTIE

We can't just walk in there.

WREN (thinking)

No. No, but they can.

CHRISTIE

Say again?

WREN

The cages all have failsafes. Liquid nitrogen. Get 'em to come to us
and I can freeze em.

CHRISTIE

Excellent. Get-ready.

Wren goes over to the failsafe button. The others look out at the
aliens.

CHRISTIE

Okay... (calls out) Hey!

VRIESS

Hey, guys!

JOHNER

Here, kitty...

The aliens react, start for the cage. Four 'of them. They reach the
edge of it and stop.

Look around, at each other..

But go nowhere.

DISTEPHMO

They're not coming.

JOHNER

Hey! Fresh meat here!

RIPLEY.

They know it's a trap.

RANE

Oh, bullshit!

CHRISTIE

What do we do?

JOHNER

Shoot the fucking things!

VRIESS

There's too many, and we don't have the angle.

RIPLEY

Bait.

CALL

What?

RIPLEY

Give em a reason to go in there. Throw somebody in.

HILLARD

Fuck you!

RIPLEY

DO we want to live? Give em her.

She indicates Call, who looks around, nervous at the lack of protest
about this idea.

Ripley points at Rane.

RIPLEY

Or the skinny one, it doesn't matter. We can't resist the smell of
meat.

CALL

We ?

JOHNER

Fuck, I'm with her! Give 'em Annalee!

CHRISTIE

Now hold on

DISTEPHMO

You people are insane.

JOHNER

Now you're not exactly in the club either, soldier.

People start pointing guns at each other.

RANE

Fuck you all, I'm not dying for you.

CALL

Stop this.

Ripley grabs her. Looks at the others.

RIPLEY

Come on! Do you want to live or not?

(to Call) It won't hurt long.

CALL (terrified)

Noo...

RIPLEY (to Wren)

NOW!

Wren hits the button just as three aliens are bounding across the cage
-- they're almost to the posse, people screaming, scrambling, when the
freezing gas hits, turning the beasts to statues.

The forth one sees this and flees, but St Just stands and put four
bullets in it from forty yards. It slumps over.

Everyone is silent, stunned. Breathing hard.

VRIESS (realizes)

Fear.

Ripley nods.

VRIESS

That's how they knew it was a trap. They couldn't smell the fear.

RIPLEY (looking at Call)

So I gave them some.

JOHNER (gleefully)

Son of a bitch!

He pops up and FIRES at the frozen aliens - - they EXPLODE into
fragments.

CUT TO: EXT. AURIGA

Gildihg through space, passing Jupiter's moons with dazzling speed.

CUT TO: INT. HALL LATER

Ripley and Call are on point. Ripley looks down the hall. Call is
staring at her, and

Ripley can feel the girls eyes on her back.

RIPLEY(without looking around)

Did you think I was going to... feed you to them?

CALL

I think you still might.

Ripley smiles. She may be right.

RIPLEY

I want to live.

CALL

And you don't care about anything else.

RIPLEY

No.

CALL (bitterly)

I guess you're more human than I thought.

RIPLEY

Why did you come here?

CALL

To kill you, remember? (after a beat) Because somebody has to.

RIPLEY

well it's not me. I did my time. Now I just want to...

She stops dead, staring at a door.

CLONING STORAGE FACILITY is written on it. Stencilled beneath that is
`numbers 1-7`.

Ripley stares. Tries the door, which opens.

DISTEPHMO

That's not the way.

CHRISTIE

Ripley, we got no time for sightseeing.

Ripley is looking down at her arm, at the 8 tattooed on it.

She looks at Call. Looks back at wren.

WREN

Ripley... don't.

She enters.

CUT TO: INT. CLONING STORAGE FACILITY - CONTINUOUS

She stands a moment, staring, before proceeding through it. Call
stands in the doorway, others crowding behind her. Every face registers
the horror of what they are seeing, but none more so than Ripley's

Numbers one through seven. The first failed efforts to clone Ripley.

They are lined up like museum exhibits -- or side show freaks.

Here is the fetal Ripley, the fetal alien visible through its
translucent chest.

Here is an attempt to separate the alien and grow it without the host -
- boneless, bubbling tissue, weak and useless mouth rigored in midmew.

Each one more horrifying than the last, and the last the worst of all.

Ripley approaches, and stares at number seven.

A complete mixture of alien and human DNA.

A tortured, disgusting hybrid, half Ripley, half nightmare.

Hooked up wires and machines, it lies on the tilted-table, its head
nearly level with

Ripley's as she finally approaches it.

When it opens its eyes, they are hers.

it tuns its head ever so slightly to look at her. Recognises her.

Ripley cannot even speak. She begins to shake slightly looking at
number seven.

NUMBER SEVEN

Kill ... us ...

Ripley's eyes go saucered as it speaks speaks out of nothing resembling
a mouth.

Ripley staggers back a step, shaking now. This is too much to bear...

CALL

Ripley!

Ripley turns, slowly, still in a fever dream.

Call cocks the grenade launcher with a loud CRACK. Her eyes meet
Ripley's.

Call tosses it to Ripley as the crew steps back and even a catches it
Ripley FIRES, a grenade chugging to the end of room and BURSTING in
fire and noise, she FIRES another, tissue and steel exploding into
flame, she turns to number seven, hand shakes momentarily...And she
FIRES, the poor creature dissolving in a cloud of flame.

Freezing gas jets fill the room, extinguishing potential spread, but
the heart of the firestorm continues to rage in the chamber.

She backs out, the crew waiting for her outside.

The launcher falls loudly to the ground. Ripley turns to Wren, her
face rigid with pain.

Wren backs up a step, looking around him for protection that the others
have no thought of providing.

CALL

Ripley... Don't do it.

Ripley stops. weariness suffusing her expression.

RIPLEY

Don't do what?

The tension pases. Wren breathes a little sigh of relief.

Call PUNCHES him across the jaw, his head whipping around as collapses
to the ground.

Call starts down the hall, not even looking at him.

CALL

Don't do that.

Feeling his jaw, Wren actually smiles at the absurdity of all this.
It's kind of winning.

He smiles at Di Stephano, who looks a little uneasy about the turn the
conversation has taken.

He joins the others who are getting ready to dive..

CALL

Do I have to tell everyone to take a deep breath?

A couple of the guys smile.

VRIESS

Christie, do me a favor. When we hit the surface on the other side...
no backstroke. Okay?

CHRISTIE (laughing)

You'll be forever blowing bubbles. On three...

He counts down, the two suck in enormous breaths -- and dive right
behind Call and Ripley.

One by one the entire crew slips down into the black water.

CUT TO: INT. STAIRWELL\KITCHEN - CONTINUOUS

It's all underwater. Visiblity is poor. The crew move swiftly and
gracefully down the stairs and into the kitchen.

In here it's a tad labyrinthian, and the size of the room it darker.
Wren heads straight for the other end.

They swim. Safety is a good fifty feet away.

They are tense, concentrated. Swimming past dark spaces. Anything
could be hiding here.

Johner looks about him, very nervous. Dark spaces. He looks behind.

Three aliens are right behind him.

Panic blows half the air out of his mouth as he swings around and FIRES
at them, tags one as the other two swim off into shadows with horrible
ease.

Ripley, all the way to the stairs, sees. She hurries the others past
her.

They swim frantically for safety, Hillard Wren, Christie and Vriess.

Rane is coming along and alien hands grab at him from the darkness,
pull him into it.

Hillard FIRES in that direction, Johner bringing up the rear still
firing at the third one, wounding it but not scoring killshot.

Call is swimming up ther staircase, the growing light above indicating
the surface.

She is almost to it when she is IN THE WEB.

A net of translucent alien goo, it is spread just six inche below the
surface.

Call struggles the goo sticking to her she's running out of air -- as
Wren and Christie enconter the same thing -- they all try to tear
through it, but they are getting weaker.

Ripley looks back as the last of the crew is passing her, aliens close
behind.

She looks up to see the situation ab and quickly makes for the surface
-- but an alien GRABS her foot, holding her down. Now SHE is running
out of air KICKS at it, it lets go.

The others are fighting, Call pops her stilletto and cuts through, but
it's tough, she still can't get her head up --

--Di Stephano, off to the side, is drowning. Takes in a huge mouthful
of water and begins thrashing.

Ripley swims past everyone and grabs the hole Call cut, pulls it apart
with a mighty heave, she glides up through --

CLOSE UP: RIPLEY'S FACE

Just BREAKS the surface, she takes in a huge GASP of air, FACEHUGGER
CLAMPS DOWN ON HER.

Ripley goes back under, pulling at the thing as others break the
surface.

Wren comes up and a hugger LEAPS right at him ,but Call nails it in
four shots.

Christie and Vriess break surface and both begin FIRING, back to back,
in a circular sweep.

They decimate a number of eggs

ANGLE: UNDERWATER

Ripley pulls the face hugger with all her might -- it comes off, its
fingers singeing the sides of her face, leaving marks like warpaint.
Worse, its probing fleshy member pulls last of her throat, thrashing
horribly.

In utmost disgust, Ripley PULLS it APART. and the three aliens are
COMING RIGHT AT HER.

ABOVE - THE SURFACE

Most of the crew has gotten up out of the water. Christie holding a
facehugger inches from his face, others screaming, taking a bead on it.

CHRISTIE

Get it! Kill it!

CALL

The blood'll burn you! Throw it!

He does, and Johner nails it in midflight.

Hillard and Johner pull Di Stephano out of the water, but he is not
breathing.

ANGLE: UNDER THE SURFACE

Ripley is grabbed by an alien -- and St Just comes up behind her and
shoots it.

They swim up and away from the spreading, lethal bloodpool.

ANGLE: ABOVE THE SURFACE

They come up out of the water, and an alien rises right behind them.
Everyone who can, shoots it. It falls back into the water.

CHRISTIE

A trap! They set a goddamn ambush!

JOHNER

Give me that!

He pulls the burner off Di Stephano's body, even as Call is giving him
mouth to mouth.

Johner flips the gun open and FIRES at the water, the whole thing
SMOKING and sizzling with the electrical charge. we hear an alien wail
bubble from below the surface.

JOHNER (grinning feverishly)

Okay! Everybody out of the pool!

VRIESS

Let's get the fuck!

Di Stephano sputters back to life. Ripley picks him up with one hand,

HILLARD (to Wren)

Which way?

WREN

Up here.

He takes off, the others following.

WREN

Up through the lift shaft!

He stops at a pair of sliding doors, starts working the panel. Ripley
come up to the doors and pulls them apart with a grunt.

ST JUST

Company!

He's refering to the noise and shadow of approaching aliens.

She herds them into the shaft.

CUT TO: INT. LIFTSHAFT - CONTINUOUS

It goes down about four stories, and up seemingly forever.. Enough room
for or three

elevators, one of which is two stories below.

WREN

UP!

He starts climbing. It's not that hard -- there are ladders in each
shaft section.

Call comes up behind him. Ripley and others pair off on other ladders.

They climb fast, they're three stories up before the aliens begin
POUNDING on the metal door, it buckles under their might.

JOHNER

Move!

WREN

Not far!

Still POUNDING -- one alien gets its head in, looks up, hisses, pulls
it out.

ANGLE: LIFT

Wren comes to a cralwspace ledge. He climbs on. Set back a few feet
from the shaft is a small maintenance access door. works the keypad
beside it as Call climbs up behind him.

The aliens SMASH through the door, one of them SAILING across the shaft
to grab a pipe on the other side. Instantly four of them are swarming
up the walls, moving much faster on pipes and ridges than the humans
on ladders.

On one of the aliens a facehugger crawls, constantly moving about on
the adult alien's head like a frightened spider.

CALL

Hurry!

WREN

It's jammed! Shit! Gun!

She hands him her gun and without hesitation he SHOOTS HER THROUGH THE
CHEST.

She flies back and DOWN THE SHAFT, lands HARD on an elevator six
stories below.

Eyes wide and empty.

VRIESS

NOO!

He fires up at Wren, but Wren has punched in the code and slipped
through the opening door..

Ripley LEAPS through the air and grabs the ledge, hauling herself up
just in time to see the door shut. The lock lights turn red.

She SLAMS against the door, but to no avail.

The aliens are getting closer. St Just, the closest to the bottom,
suddenly lets go of the ladder. His knees hooked over a rung, he
drops, hangs up side down, his guns filling his hands.

He blows several holes in the nearest alien.

Ripley is furious, maybe surprised just how so. Suddenly an alien
RISES OVER THE LEDGE, it's not three feet away from her and she
SCREAMS, HURLS herself at it and they both go

FLYING OFF into-space, they hit the wall on the other side, they fall.

RIPLEY GRABS a pole, it practically tears her arm out of her socket but
she holds on, the alien isn't so lucky, it plummets unable to find
puchase. We see it fall past the unmoving body of Call.

ANGTE: CALLS FACE

As the facehugger CLAMPS onto it. Pauses. Pushes off a bit, two digits
probing Call's nostrils. Sensing no breath, the thing scurries away to
find a better host.

Another alien is fast approching Christie and Vriess. Vriess
frantically tries to reload.

VRIESS

It's on us!

Christie turns, aims -- Vriess grabs the ladder as Christie FIRES, but
the alien is too close, it grabs Christie, spurting blood all over him.
He SCREAMS, lets go of the ladder

Vriess takes the weight of both as Christie fires again, the alien
flying off and down the shaft.

HILLARD

We gotta go!

The last alien suddenly starts scurrying back down after his brothers.

RIPLEY

We're locked in.

JOHNER

Fuck!

PURVIS

How far to the next door?

DISTEPHANO

All the way.

RIPLEY

Then we climb.

They start, moving as fast as they can.

VRIESSS (to Christie)

You just hang on, man. I'll get us there.

He starts climbing up, impressively fast considering the burden hanging
from his back.

JOHNER (to Ripley)

Are they going for reinforcements?

RIPLEY

Fucked if I know.

They climb.

And climb, the minutes stretching out, still no door. Ripley easily
ahead of the rest.

Finally:

RIPLEY

I think I see the door.

PURVIS (exhausted)

Great.

Vriess is having increasing trouble. Hillard notices him lagging
behind, and why.

HILLARD

Vriess! Jesus!

Vriess is moving very quickly, considering. But the effort is becoming
too much.

VRIESS

We're coming...

Johner scrambles down next to Vriess.

he checks the pulse in Christie's neck.

Vriess, man... he's dead.

Refusing to hear it, Vriess struggles to climb further.

VRIESS

We'll get him to medlab... just a little while ...

Johner looks over at Hillard. Without saying a word, she pull out a
good-sized hunting knife, flicks it open.

She slices through the cord holding them together, and Christie's body
falls free.

Vriess shuts his eyes, feeling it. ANGLE: DOWN THE SHAFT

There is silence as Christie's body drops down the black abyss

Until, from up the shaft next to where he fell, we see two ALIENS
COMING UP.

PURVIS

Fuck! Company!

Hillard looks up the shaft.

HILLARD

How much further?,

JOHNER

Too fucking far. Let's G0 !

They start to climb, but the aliens are making much better time.

A loud CLACKING sounds from the bottom of the shaft. A few of them
look down.

ANGLE: DOWN THE SHAFT

The aliens are still coming, but suddenly the lift passes them heading
up at high speed.

JOHNER

They can work the elevators? Is there anything fucking else we should
know about them?!

He's addressing this at Ripley, but she's as puzzled as the rest of
them.

The lift comes up to them, stops suddenly as emergency brake is
flipped.

They wait, guns ready. Out of the hatch pops Call, not especially dead.

CALL

Get on!

A moment of stunned silence, then they all jump on top of the lift.

Call drops back down inside.

An alien comes up level with the lift, prepares to jump. St Just
shoots the shit out of it.

HILLARD

Where are the others?

CUT TO: INT. LIFT - CONTINUOUS

Call flips the brake off, and the lift shoots up. She is holding her
jacket closed around her chest wound, but it doesn't seem to bother
her particularly much.

ANGLE: ON TOP

Everybody holds on as the lift flies up the shaft.

ANGLE: INSIDE

Call waits for the signal to stop and an alien PUNCHES THROUGH the
bottom of the lift. Call yells as it gets its head and an arm through,
clawing for her.

ANGLE: ON THE BOTTOM

We see the other half of the alien clinging to the lift.

ANGLE: ON TOP

Ripley sees the door approaching

RIPLEY

stop!

ANGLE: INSIDE

Call hits the emergency button and the lift stops halfway in front of
the door -

- giving both Ripley and Call access. Bu the alien is still grabbing
for her --

Ripley pries open the doors again, the crew pouring out into the hall.
Ripley follows, jumps down and opens the lift doors

The alien hisses at Ripley as she pulls Call out -- the -alien grabs
Call's ankle, but

Ripley wrenches her free.

They roll out but the alien is still fighting, Pulling itself inside
the lift.

Ripley grabs Hillardl's shotgun. Levels it at the cables holding the
lift. FIRES.

The lift PLUMMIETS, the alien still halfway in.

It shoots down the shaft -- picking up the second alien on its way
down, neither beast able to get its bearing and get out of the way as--

The lift SMASHES into the bottom of the shaft, crushing both the Aliens
to jelly.

ANGLE: UPPER DOOR

Johner triumphantly sticks his head in the shaft.

JOHNER

Eat that, fuckneck!!

They all breathe hard, exhausted, before they can muster for the next
stretch.

Call stands with her back to them.

VRIESS

Baby, am I glad to see you. I thought dickbag took you out for sure.
Are you, hurt?

CALL

I'm fine.

DISTEPHANO

You got body armour on?

CALL

Yeah. Come on.

Ripley isn't buying.

RIPLEY

You were Gunshot. I saw.

CALL

I'm fine!

Ripley spins her around. Call stares at Ripley, sullenly a small
trickle of milky white fluid comes from her nostril. Ripley looks down.

ANGLE: CALL'S CHEST

Wren has indeed made a messy hole here, but where blood and bone should
be there is a tangle of synthorganic wiring. To state the obvious:

A robot.

JOHNER

Call's a goddam sythetic!

HILLARD

Son of a bitch. Little Annalee's just full of surprises.

RIPLEY (quietly)

I should have known.

ST JUST

Couldn't smell this one out?

RIPLEY

No, I mean... all that crap about being human - there's no one so
zealous as a Born Again.

VRIESS (to Call)

You're an LM7, aren't you? Is that it?

CALL

Leave me alone.

Her voice shocks her more than anyone her vocal track slip affected by
the wounds.

The voice is a shade slow, and echoes strangely.

VRIESS

Call ....

CALL (bitterly)

Yes.

ST JUST

LM7? Shit. That explains a lot.

YRIESS (to Ripley)

The latest and best. They were supposed to revitalize the synthetic
industy.

Instead they buried it.

Ripley looks at the girl.

RIPLEY

They were-too good.

VRIESS

Oh yeah. Overrode their own behavioral inhibitors. Didn't feel like
being told what to do.

The government ordered a recall. Fucking massacre.

HILLARD

1 always heard there were a few that got out alive, but man... I never
thought I'd see one.

Johner starts laughing.

JOHNER

Oh, Christ. Doing fucking nickel and dime border runs, selling second
hand junk to the farm belt... and we're carrying the most expensive
piece of contraband in the system.

That's rich.

PURVIS (getting anxious)

It's great, she's a toaster oven... Can we leave now?

Vriess tries to touch Call's wound.

VRIESS

Let me see.

Call pulls away.

JOHNER

Yeah, get your socket wrench, Vriess.

Maybe she just needs an oil change.

RIPLEY

Let's go.

They start off again, Johner and St Just bringing up the rear

JOHNER

Can't believe I almost fucked the thing.

ST JUST

Yeah, like you've never fucked a robot.

ANGLE: RIPLEY

Letting DiStephano lead.

RIPLEY

DiStephano. Where are we?

DISTEPHANO

Upper decks... Storage... the chapell's up here, not much else.

RIPLEY

Can we get to the ship?

DISTEPHANO

Well, we're a ways out,of the way, but I think we can get through to
the garden.

From there, it's down a few levels, it's do-able.

What if the fucking doctor gets there first?

VRIESS

It's a good point.

DISTEPHANO

Shit.

They have reached an access door. Debris blocks the way.

RIPLEY

Another way?

DISTEPHANO

Uh, yeah. Through the wall. We'll have to get one of these panels
off. It'll take a while.

(to Vriess) You got tools?

VRIESS

Yeah, but no torch.

JOHNER

Fucking blow the door!

HILLARD

Assface, We're on the top of this thing.

(pointing to the ceiling)

That's hull.

VRIESS

What about Wren? if he gets in the computer he can really fuck us
around.

RIPLEY

We have to get in too.

DISTEPHANO

There's no access console on this level. We'd have to-backtrack.

HILLARD

Fuck that.

DISTEPHANO

And I don't have the security access that Wren does anyway.

Ripley turns to Call.

RIPLEY

Call.

CALL

No. I can't.

JOHNER.

Bullshit. She's a damn well talking machine.

CALL

There's another way.

DISTEPHMO

Just tell her to access it on remote.

VRIESS

Shit, that's right. Any of the new model droids can access the
mainframe.

JOHNER

Just by blinking.

CALL

I can't.

ST JUST

No time to get coy, Annalee.

CALL

I can't. I burned my modem drive. We all did.

VRIESS

You can still patch in manually. You know that.

Call looks over at the group, staring at her. She knows she doesn't
have a choice.

DISTEPHANO

There's ports in the chapel.

RIPLEY

Come on.

(to the others)

You get started on that wall.

CUT TO: INT. CHAPEL - CONTINUOU@

Ripley and Call enter the small room. Ripley sits in one of the pews,
pulls out a bible.

it somewhat resembles a Newton Under the leather flap is a screen
reading.:

HOLY BIBLE. PRE START.

Ripley pulls out the cord from the bible's port, holds it up

CALL

Don't make me do this.

RIPLEY

Don't make me make you.

CALL

I don't want to go in there.

RIPLEY

Get over it.

CALL

It's like... your insides are liquid. It's not real.

RIPLEY

You can blow the ship. Before it reaches Earth. Kill them all. Just
give us time to get

out first.

That convinces Call. She pulls up her sleeve, and begins. pushes a
part of her forearm,

just below the crook of her elbow. It has a spring release catch, and
a small panel rises

up with two computer ports on it. She takes the cable from Ripley and
plugs it in.

It looks almost like she's mainlining heroin.

She cocks her head.

CALL

Dammit.

RIPLEY

Anything?

CALL

Hold on.

She reaches in her chest, reconnects some tubes. She twitches then
shuts her eyes.

Wren is holding his hand to the scanner, just as Call described. The
red light turns

green and we hear the locks the door crack open.

FATHER

Emergency override validated.

The door begins to rise. Looking around him, Wren waits to through.

The door grinds to a halt, still too low to climb under. The lights go
out, only the faintest glow coming from various instrument panels.
wren's expression drains.

WREN

Father, reboot systems on 45V, authorization 'starling'.

Nothing happens. Wren looks about him, beginning to sweat.

Did the aliens do this?

WREN

Father, locate power drain, report.

Father?

CALL - (on the system)

Father's dead, asshole.

Wren spins in shock at the sound of Call's voice. it,s everywhere
around him.

She has downloaded her vocal matrix place of Father's.

(She's not just speaking over a PA, she is the PA.)

The door SLAMS back-down, locks clack into place. The doors behind him
open up,

emergency lighting pulsing along toward him.

CALL\SHIP

Intruder on level one... all aliens please proceed to level one.

Wren is freaking. He turns back down the corridor, looking about him
wildly.

CUT TO: INT. CHAPEL - CONTINUOUS

Call pulls the cord out of her port.

RIPLEY

You got a mean strak.

CALL

It's done. That should hold the fuck.

This as her voice track slips even more. She works the wires in her
cheest, trying

to fix it.

RIPLEY

Let me see

CALL

Don't touch me.

Ripley backs off.

CALL

You must think this is pretty funny.

RIPLEY

Yes. But I'm finding a lot of things funny lately. And I'm not sure
they are.

CALL

Why do you go on living? How can you stand it? How can you stand...
yourself?

Ripley shrugs.

RIPLEY

Not so hard. Not much choice.

CALL

At least there's part of you that's human. I'm just... fuck. Look at
me....

She looks at the hole in her chest, the white and sticky fibers.

CALL

I'm disgusting.

Her voice is at its slowest here, low and eerie. It's a mechanical
problem, but

it sounds just like despair.

RIPLEY

Do you dream?

CALL

I ... we have neural processors that run through.... (stops) Yes.

RIPLEY

When I sleep, I dream about it. Them. Every night. All around me ...
in me.

I used to be afraid to dream, but I'm not anymore.

CALL

Why?

RIPLEY

Because no matter how bad the dreams get ... when I wake up it's always
worse.

Purvis enters.

PURVIS

I guess we're almost there.

RIPLEY

Right.

He exits again. Call finishes fiddling with her internal wiring. We
hear her voice slip back to normal as she says:

CALL

Let's get going.

CUT TO: INT. TUNNEL

As they come one by one through the wall.

DISTEPHANO

Not far now.

PURVIS

God, I'm so tired...

JOHNER

Yeah, well, we'll sleep when we're dead.

Ripley follows him through.

RIPLEY

Don't count on it.

The rest of them come through and walk into:

INT. THE GARDEN CONTINUOUS

The Garden runs nearly half a mile straight across, and then down on a
terraced slope.

Everywhere are different kinds of plants: trees, vegetable plants,
exotic and experimental hybrids.

Access paths crisscross the beds.

It's huge, the single biggest space on the ship. Yet the low ceiling,
laticed with grow-lamps now dim in nightcycle, and prodigeous
undergrowth make it labyrinthian, almost claustrophobic.

From where the crew is, they can barely see where it slopes down.

JOHNER

What's this fucking deal?

DISTEPHMO

This supplies most of the food for the unit.

VRIESS (holding a lucious ripe pear)

You guys got something against spam?

DISTEPHMO

And there's some lab work here too. Hybridization.

RIPLEY

At the other end?

DISTEPHMO

Runs down to the by the waste tanks. We can get to the dock from
there. You, okay?

Ripley is holding her head. She shuts her eyes.

CALL

What is it?

Ripley shakes it off.

RIPLEY

Nothing. I'm okay.

She looks out at the jungle, they have to cross.

CALL

We should get moving.

ST JUST

Hey! Check it out!

He has come upon a small loading truck, a sort of platform jeep.
Vriess checks it out, takes a huge bite of his pear.

VRIESS

Beats walking.

He hauls himself up-into it. Everybody piles onto the back flatbed just
a foot or so off the ground and just big enough to hold everyone but
Vriess, Call and Ripley, who pushes into the driver's seat.

VRIESS

Quickly and quietly, people.

Ripley stares unconprehendingly at the controls for a momen till Call
flips on the ignition.

RIPLEY

Thank,you.

The jeep pulls out. It's electric, so it emits just a low hum as she
takes it at a good clip toward the other side.

The access paths are just a bit wider than the jeep itself, plants
rising tall all around them.

Ripley concentrates on driving.

The pass through as section of wheat , then of corn. As they come to
another section,

The crew's expressions change to one of pleased disbelief.

You gotta be fucking me. St Just! Is this real?

ST JUST

So this is what heaven looks like.

We see they have driven into a healthy section of CANNABIS plants
growing ten feet high.

The car screeches to a halt. Ripley's at a crossroads of sorts.

RIPLEY

Which way?

HILLARD (looking at the plants)

I always wondered where the military got its funding...

An alien SHOOTS out of the brush and lands on Hillard everyone SCREAMS
-- Ripley SLAMS her foot on the pedal

The jeep PEELS OUT, as more emerge from the brush.

HILLARD

Get it off MeeeaaaaAAGGHRE!!!!

It bores into her head before St Just can blow it away. It's head
exploding in fragments of bone and sizzling blood as it falls away from
the jeep, Hillard's body still clutched in arms.

Another leaps out at them, but the jeep is going a good clip and it
misses.

The crew peppering it with bullets.

They look,about them, guns ready.

ANGLE: IN THE BRUSH

Something runs parallel to them in the plants.

ANGLE: ABOVE

Two more run on top of the grow-lamps, pacing them as well.

One DROPS DOWN -- Ripley SWERVES out of the way, driving in the plants.

They are varied, exotic -- and there are aliens behind half of them.

The crew BLASTS away all around them Ripley drives a drunkard's path
through the brush, avoiding trees that dot the scape.

An alien DROPS onto the hood, another grabs the side -- Vries takes out
the first, blowing it off, but the second grabs Johner, he goes flying
over the side,.dropping his gun.

St Just is too preoccupied with his own problems on the othe to see
that Johner is being

dragged, the alien still clutching onto him.

Shots bang out, ripping into the alien, which lets go. Johner looks up
to see Purvis holding Johner's gun.

Johner drags himself back on.

One jumps down onto St Just, tears a good chunk out of his midsection
before he dusts it.

Another alien jumps on the hood just as the jeep SAILS over first ledge
of the terraced slope, comes-down hard enough knock it off, SAILS over
the next -- the crew can barely hang on as the jeep crashes down slope
after slope.

Ripley swerves back onto the road, the jeep sliding over onto the steps
beside it, rocking violently as they shoot down the remainder of slope,
the aliens close on their heels.

Still blasting away at the beasts, the crew is able to put little
distance between them as they come to the end of the garden. Here it
divides into three sections, all open halls with access for the jeep.

for the jeep. She SLAMS on brakes. the jeep spinning out and coming to
a halt.

The crew piles out, Di Stephano grabbing Vriess. At the other end of
the hall, the aliens

can be seen approaching.

The crew BLASTS at them, the aliens, blood splattering the narrow hall.

ANGLE: THE BLOOD

Eating into the walls. the floor.

CALL/Ship

Warning. potential hullbreach. Clear sector.

DISTEPHANO (indicating the steps)

Down here!

They start down -- all but St Just. He gets out of the jeep with
difficulty.

Looks down at his wound.

Johner looks around to see him still standing atop the steps

JOHNER

St Just! Come on, man.

St Just looks down at the wound. Back at Johner. He walks calmly away,
towards the aliens.

CALL

St Just!

ST JUST

You go.

He looks at the appraching aliens.

ST JUST

I'm bored.

CALL\SHIP

Warning. Evacuate sector.

A moment, then the crew takes off.

St Just takes a handful of pills, pops them into his mouth. Only the
slightest grin suffuses his face ,as he waits for the aliens.

They close on him, and he raises his guns.

CALL\SHIP

warning...

CUT TO:

INT HALL NEARBY - CONTINUOUS

The crew runs full out.

DISTEPHANO

We have to get out of the sector!

RIPLEY

Where!

DISTEPHANO

There!

He points at a door that's down two flights and across the hall.

CUT TO: INT. HALL CONTINUOUS

The aliens close, and St Just FIRES, blasting away with bot guns.
Aliens writhe on the

floor before him, still they cover the bodies of their brothers, still
he fires,

Call\ship monotones of warning in sharp contrast to the chaos

-- St Just fires until both guns are empty. In one smooth motion he
drops them both

and jerks his wrists and TWO-MORE disposable guns fly into his palms
and he blasts away

ANGLE: THE BLOOD

Eating through the hull.

ANGLE: THE CREW

desperately racing for the door.

ANGLE: ST JUST

Firing with quiet glee.

ANGLE: THE CREW

The first of them are through the door.

ANGLE: St JUST

The aliens are getting closer, but still he mows them down Both his
guns click, spent.

ST JUST

Damn.

CALL\SHIP

Warning --

and BOOM!!!!, the hall BURSTS OPEN, everything explodes into space, the
wind rushes out as

BOOM!!!, the whole garden sector rips open, sucked out, as

ANGLE: RIPLEY

is the last to get out, but the pressure change SUCKS HER she flies
backwards, the section door coming down just in time as she SLAMS into
it, the door closing fully as she falls, lack of pressure sucks at the
door itself, it creaks and be inward slightly, but it holds.

The others have exited into the next hall. They've been tossed about,
but not as badly.

Call stops, runs back to Ripley, helps her up. Ripley is dazed; the
door hit the back of her head solidly.

They CRASH UP through the floor panels, six of them, surrounding the
two women.

Call can barely spin before Ripley GRABS her and HURLS her fifteen feet
down the corridor, out of harm's way.

The aliens close on Ripley. She struggles but she's still weak. One
slams her onto the ground call recovers, looks back at Ripley

As the aliens drag her unconscious body back down under the floor.

CALL

RIPLEY!

CUT TO: INT. AIR VENT - CONINUOUS

Dark, cramped, and already covered with a hardening layer of resin.

Skittering, insectile motion at one end heralds the aliens, as two of
them crawl rapidly along. The third craw upside down, the
semiconscious Ripley draped over its chest If she were awake, and
out.vf her mind, she could be kissin the beast.

Her eyes flutter open, but she is obviously still groggy.

ANGLE: RIPLEY'S POV

Alien head, dark tunnel passing beneath.

Scuttling through a small maze, the aliens come out into:

INT. WASTE TANK 5 - CONTINUOUS

A vast, dark chamber, entirely encrusted with alien goo. air vent opens
about three quarters of the way up the chamber. The aliens pour out and
imediately scuttle UP, carrying Ripley to the top of the chamber.

They circle her and begin secreting resin, spinning a web around her.

The resin comes out of ther backs in spits and globs.

It isn't pleasant, and Ripley struggles feebly as they begin to cocoon
her.

CUT TO: INT. ANTECHAMBER CONTINUOUS

The crew piles through it on their way to the loading dock.

Call brings up the rear, still looking back regretfully.

She hesitates, and Purvis takes hold of her arm.

PURVIS

We got to be moving, miss. Best gift you can give her right now is a
quick death.

CALL

It's not right...

PURVIS

I've been saying that all day, we need your help.

A moment more, and she heads out with him.

CUT TO: WASTE, TANK 5 - CONTINUOTJS

The aliens have finished webbing Ripley, and climb away.

When it is done she finds herself basically hung from the ceiling, her
legs encased and glued with glistening strands to the roof. She hangs
therefore at an angle, looking down on the chamber.

And so it is with her, as she swims to full consciousness, we get our
first real look at where we are.

There are no less than ten people strung up exactly as Ripley is,
encircling the chamber, and all looking some forty feet down at:

The Queen. Lying on her back at the bottom of the-chamber, belly
swollen and distended.

She is herself partially cocooned, strapped down to the at the edge of
a black pool of blood and ichor. Her head moves slowly back and forth,
in delierium of pain.

There are a four or five aliens tending her, spinning goo around her,
vomiting blood onto her belly. They might be serving her, or
imprisoning her. Both, in fact.

There is one thing missing from this tableau.

RIPLEY (softly)

No eggs ...

GEDIMAN (OS)

Multiple reproductive systems.

Ripley turn's slowly, to see the person next to her. It's Gediman,
looking wane and haggard.

He may be speaking to her but he stares straight ahead, his eyes
glowing with near insanity.

GEDIMAN

Complete asexual reproductive cycle, self-impregnating, we found six
different sets of ovaries in her. Egg laying is the first cycle,
immature. Redundancies, redundancies

... she'll bring forth legion.

RIPLEY

They didn't impregnate you?

Now he looks at her, regret and glee at what has happened battling for
his expression.

GEDIMAN

No... they've just been draining me.

She looks down, to see

ANGLE : GEDIMAN'S FEET

As blood from various wounds seeps slowly past his toes, dripping into
the pool.

A keening SHRIEK comes out of the queen, as her limbs begin thrashing.

The aliens around her back off slightly.

The bulge in her belly starts moving.

Ripley starts struggling with her bonds, terror and determination in
her.eyes.

RIPLEY

I'm getting out of here. Goddamnit, I'm getting the fuck out of here!

He looks at her, the last glimmerof his sanity sinking beyond the
horizon.

GEDIMAN

Don't you want to see what happens next?

CUT TO: INT: LOADING DOCK - CONTINUOUS

The crew rushes in, heads for the Betty.

JOHNER

How long till we can get airborn?

VRIESS

I'll need Call to patch in to the ship again, open the hatch.

CALL

Right.

JOHNER

We hit atmo in a few minutes, only gonna make it harder.

They all run on board

INT. THE BETTY

and head for the cockpit. DiStephano deposits Vriess in a wheelchair.

CALL

Johner, take Purvis to the freezer.

JOHNER

All right.. Nap time, buddy.

A GUNSHOT and Purvis goes flying, blood spurting out of his shoulder,
Johner draws but

Wren emerges from the shadows too fast.

Wren grabs Call and very carefully holds his gun to her back right
below her shoulderblades.

Ripley is frantically trying to pull at her bonds. It's just beginning
to work.

But the noise in here is getting worse, the aliens franitcally agitated
as the Queens belly begins moving more violently. SHRIEKS, and RIPLEY
does as well, from effort or sympathy, it is hard to tell, as

Having drained the scientist, it leaps blindingly fast onto the
ceiling. Looks around.

Targets Ripley.

It has no eyes, but she can feel them on her anyway. She rips at her
bonds with a terrible effort -- the newborn LEAPS at her and she PULLS
FREE with a scream, PLUNGING the thirty feet to the pool as the alien
flies over her, missing, landing on the far wall instead.

Ripley disappears beneath the surface of the water.

The newborn turns its head, trying to locate its lost prey. other
aliens scutter closer to the pool.

Ripley stands up out of the pool, covered in blood, HOISTING THE
SOLDIERIS GUN.

Killshriek rising from her throat as she FIRES, taking out a host of
aliens in a single sweep, just tagging the newborn as it leaps out of
the way. Aliens jump at her, trying to kill and trying to protect the
newborns, but she blows them out of the air.

It feels pretty good.

A few shots go wild, and punch big holes in the side of the tank.

Light streams in through them. Ripley sees -- and continues firing in
that direction.

She makes a big enough hole that she can run and SMASH through to

INT. BY TANK - CONTINUOUS

rolling and coming up in an instant. She looks around her. exit this
way, but there is a vent above her.

The newborn's head lunges at her, the small hole making it impossible
for the creature to get all the way through. But it wriggles,
pushing...

Ripley jumps up, grabbing a pipe, and KICKS open the vent grate,
throwing herself up the vertical shaft with astonishing ease.

CUT TO: INT. BETTY - CONTINUOUS---

Vriess is scrambling away, knocking over things to avoid the baby
alien.

Johner SHOOTS at the creature as it speeds-towards Vriess.

CALL

Don't shoot it! Betty's hull is too thin!

JOHNER

Look out!

it knocks over cannisters as it speeds across the table and behind some
instruments. VRIESS

Where'd it go?

CALL

Don't shoot it!

JOHNER

Fuck that!

It LEAPS out of the darkness and heads straight for Call, she stumbles
back, trips -- it comes at her, leaps right at her face, she pulls her
hand back -- and-flicks her wrist The stilletto pops out as the creatu
flies at it, the blade slides right into its mouth, ramming eight
inches through its innards before it pokes out the other end.

Blood spurts on Call, on the floor. The creature wriggles and finally
falls free as the stilletto melts inside it.

JOHNER

Vriess! Get behind the fucking wheel!

CUT TO: INT. VERTICAL AIR SHAFT - CONTINUOUS

Ripley is climbing up the cramped vent with the speed and agility of an
alien.

Unfortunately, so are the aliens, twenty feet below her. Two drones in
front, with the newborn sqeezing close behind.

Ripley grabs a pole and her hand begins to steam, it's so hot. She
cries out, lets go... then looks down. Grabs the pole again and,
ignoring the searing agony, pulls, pulls...

RIPS out of the wall, burning steam GUSHING out below her, slowing down
the aliens.

She continues climbing, then kicks through a grate.

CUT TO:

EXT. SPACE

The Auriga races toward:

EARTH. But not as we've seen it.

The planet is still blue, but almost two thirds of it is obscured by a
giant orbitting latticework of metal, a part shell that rotates sligtly
faster than the planet itself.

The Auriga heads for a section of exposed earth. Not long now.

CUT TO: INT. ANTE CHAMBER - CONTINUOUS

Ripley drops to the ground and heads for the dock.

CALL/SHIP

Airlock doors closing. Stand clear.

RIPLEY

No!

She doesn't bother to try the door, she HURLS herself through the
window, landing

INT. DOCKING BAY

in a hail of glass.

She is on the platform that. runs the length of the dock. Betty. is
barely visible past the far end, - sinking into the airlock as the
massive airlock doors. slide slowly shut.

RIPLEY

NO!!

A SLAM against the metal door behind her tells her the aliens are here.

Turns as the HATCH OPENS nearby, the door sliding slowly beast is torn
between Ripley and this new distraction --

Ripley sees it too, starts climbing for it frantically, one on the
newborn.

The beast makes for the doorway -- and CALL POPS HALFWAY OUT pointing a
GRENADE LAUNCHER at the thing.. She BLASTS it once, the beast roaring
and starting back, hurt but not nearly enough. Call fires again but
the ships rocking sends the shot wild.

she flies back for all of a second

The beast rears to attack but Ripley is at the hatch -- Call drags her
in and closes the hatch, the beast just SLAMMING in it as it closes.

INT. THE BETTY

Ripley is hanging on Call, exhausted.

Another BANG on the hatch, and they can see the door starting to give.

VRIESS

Call! NOW!

Call and Ripley head into the cockpit.Johner continues looking at the
vidscreen at the beast.

VRIESS

We can't to do a vertical setdown! Braking systems are shot!

CALL

Find me a patch of land! I'll put her down.

Call jumps back into the pilot's seat by Vriess. He pulls up hard on
the wheel, but the ship is still dangerously close to the ground.

JOHNER

That thing isn't going anywhere!

VRIESS

Johner, strap in! We're coming down hard!

ANGLE: -BETTY Approaches the rough, wooded terrain, just above the
trees. Hits a relatively clear patch, touches down -- bounces back up
and then down again

ANGLE: CALL

Fighting the wheel -- she can't pull it up hard enough.

ANGLE: THE BETTY

The ship blasts through trees. The newborn moves to the back of the
ship to avoid debris.

JOHNER

That things gone back behind the thrusters!

Call and Ripley look at each other.

RIPLEY

Hit it.

Call throws on the thrusters, the ship ROCKETS forward ANGLE: THE
NEWBOM

Engulfed in flame, losing its grip --

THE BETTY

Going too fast -- Call can't control it

VRIESS

Kill thrust! Now!

Call does.

ANGLE: THE BETTY

Skids, skids, throwing up enormous debris. It hits another wooded area

RIPLEY

is thrown bodily into the windshield --

THE BETTY

mows down a half acre of trees before finally grinding to a halt.

As soon as they've recovered, Call throws off her seatbelt.

CALL Is everbody all right-?

JOHNER

Where're you going?

Call opens the hatch.

CALL

To make sure that thing is really dead

Its giant face LUNGES down at her, piston tongue shooting out.

It has charred black skin -- in some places that skin has fallen off
and wet pink flesh shows through.

Call drops to the floor, the tongue just missing her. Johner scrambles
for his gun as

Ripley drags her out of the way.

AS quickly as it came, the head lurches back out.

JOHNER

I think it's gone!

VRIESS

No, it's waiting for us to come out!

Can we fly?

VRIESS

We can't fucking crawl!

RIPLEY

It's gone.

Call looks at her.

CALL

Are you sure?

JOHNER

Good! Great!

CALL

No...

Call grabs a grenade launcher.

CALL

I've got to stop it.

VRIESS

Call

CALL

That thing is thirty minutes old! In a few hours it'll grow up. If it
reaches a place with people...

She heads for the door but Ripley is on her way. They exchange a look.

RIPLEY

You'll never catch it.

Call tosses her the grenade launcher.

CUT TO: EXT. BETTY - MOMENTS LATER

The ship sits silent in the woods, the trees around heavy with snow.

Ripley comes out the top. She looks around her, sees the tracks in the
snow.

Huge, loping. She jumps.down off the ship.

And runs.

Through the blur of trees, she moves with the grace and speed of an
animal, leaping from boulders, racing through the powdered brush this
is Ripley at peak speed, and it is something to see.

She starts going up, the way getting steeper and rockier, til she
reaches a cliff face, and looks out on:

A CITY.

Sprawling, huge, a million tiny lights cutting through the darknes it's
just before the horizon.

The newborn RISES in front of Ripley, STRIKES her before she has a
chance to aim her weapon.

Its tentacle cuts deeply into her, sends her flying.

The beast is on her in a second, its enormous jaws missing her head by
an inch as she rolls, grabs the grenade launcher, FIRE

The beast is thrown, but just grazed, back on her as she tries to get
off another shot, it SLAMS a foot down RIGHT ON HER she SCREAMS, the
launcher rolls free, the beast coming in for the kill and over the
ridge FLIES THE HARVESTER, Call at the controls. aiming right for the
newborn.

It rears up to see it just as the girl RAMS it into the creatures head,
it knocks it on its ass, the harvester shaking but not quite spinning
out, as Call comes around for another shot.

Ripley scrambles to safety as the Newborn prepares for the oncoming
harvester, it whips its tentacles at it but Call swerves at the last
second -- The monster spins with it, screaming, sees Ripley and slashes
at her. KNOCKS HER OFF THE CLIFF --

She falls, grabs brush it snaps -- she starts slinding down rockface
and she takes her hand, SLAMS her fingers into the smooth rock face
like a pick axe -- it rips her nails bloody but she digs out purchase.

ANGLE: CALL

SLAMS into the newborn from behind, the girl nearly thrown out of the
harvester, the newborn spins and grabs it, Call throws it into reverse
but the newborn is too strong, holds on, bringing its head up to face
Call herself.

ANGLE: RIPLEY'S

Bloody and torn, it SMASHES into the rockface, as she climbs back to
the top

ANGLE: THE NEWBORN

SWINGS the harvester into a tree, Call nearly knocked loose again. The
monster is jolted as well, lets go, Call pilots the machine back
through the trees, the alien watching it, growling --

Call flies deftly through the trees, away, away, then spins out, heads
back for the beast at TOP SPEED, the wind roars as she closes

The newborn spins and she SLAMS into it, it goes flying, screaming in
pain, the harvester bouncing off it, flipping over, CRASHING against
the trees and landing tilted upside down, Call unconscious between it
and the ground.

The newborn shudders, rises, makes for the harvester -- it clearly
pissed.

Call awakens to see the monster approaching the machine. Terrified,
but determined, she reaches for a lever

RIPLEY

No! Over here!

Calling out to distract it, she runs, waving her arms.

CALL

Ripley! Let it come! Let it come!

Tears run through her voice as she strains for the lever. The beast is
torn, and for a moment doesn't move.

Ripley looks over to where Call is, and understanding blooms on her
face.

She looks around and spots:

ANGLE: THE GRENADE LAUNCHER

Halfway between her and the newborn.

For a moment neither of them moves. Then Ripley RUNS, the newborn
comes at her with equal speed, like they're playing chicken, Ripley
DIVES at the ground, rolls, comes up holdin the grenade launcher, and
she FIPES!

The newborn is hit up close and dead center this time, and it rears
back, screaming -

- Ripley FIRES and FIRES, driving it back toward the upended harvester.

The alien rears up to its full height, and Ripley pulls.the trigger.
There is a hollow click.

Furious, Ripley stares a moment at the beast. A SSCREAM wells up in
her throat and she

THROWS herself at it, leaping impossibly high, smashing into it and
sending both of them tumbling onto the Harvester.

Call pulls the lever.

In an instant the machine roars to life, a thousand blades grinding to
top speed, pulverizing the beast, consuming it, sucking it down as
layer upon layer of alien flesh is chopped into messes.

And it SHRIEKS, a noise unheard before, as it thrashes frantically.

Ripley tries to pull herself off it before the blades get too close --
but the beast grabs her, holds her. The blades ever closer as she
struggles with it.

ANGLE: CALL

Still trapped below, she sees the aliens blood seeping through the
machine all around her!

She squirms, trying to get away, but she's stuck. A stream of blood
lands on her shoulder, eating it away. Another on her leg, and panic
blooms, bright in her.

CALL

RIPLEY!

Galvanized by the cry, Ripley TEARS herself out of the beast's dying
grasp, flips backwards off the Harvester as it begins to smoke and
spark, blood eating through the controls.